Add notes here on the major contextual issues that influenced the creation of this work. Include specific examples (with bar numbers) where evidence of these influences can be seen/ heard in the music.
Contextual issue 1: Faith; Wanted to celebrate his reconnection the Russian Orthodox Church. Stravinsky had left the Russian Orthodox Church for 16 years a and rejoined in 1926. Wrote Symphony of Psalms in 1930 as an expression of his renewed faith. Wrote at start of score “This work is dedicated to the Glory of God”. He used three psalms (150, 38:13-14, 39:1-5) of David, which came from the Latin version of the Old Testament in the Vulgate bible. Each movement is dedicated to one of the hortatory virtues’-faith, hop and love. He reversed the order- 1st movement dedicated to love, 2nd to hope, last to faith.
Contextual issue 2: Stravinsky was commissioned in 1930 by Serge Koussevitzky for a celebration of the Boston Symphony orchestra’s 50th anniversary. Wrote for 4 part chorus and orchestra specified male children for soprano and alto. -Tradition of Baroque – in 18th century women were not allowed in church (neo-classical)
- Wanted purer non-vibrato sound of children in keeping with Baroque tradition and in movement away from 19th century sound
Contextual issue 1: Faith; Wanted to celebrate his reconnection the Russian Orthodox Church. Stravinsky had left the Russian Orthodox Church for 16 years a and rejoined in 1926. Wrote Symphony of Psalms in 1930 as an expression of his renewed faith. Wrote at start of score “This work is dedicated to the Glory of God”. He used three psalms (150, 38:13-14, 39:1-5) of David, which came from the Latin version of the Old Testament in the Vulgate bible. Each movement is dedicated to one of the hortatory virtues’-faith, hop and love. He reversed the order- 1st movement dedicated to love, 2nd to hope, last to faith.
Contextual issue 2: Stravinsky was commissioned in 1930 by Serge Koussevitzky for a celebration of the Boston Symphony orchestra’s 50th anniversary. Wrote for 4 part chorus and orchestra specified male children for soprano and alto.
-Tradition of Baroque – in 18th century women were not allowed in church (neo-classical)
- Wanted purer non-vibrato sound of children in keeping with Baroque tradition and in movement away from 19th century sound